Whale Rider Mat No | 1

Film Posters

Have a look at the film posters below. Speculate about the content of the film Whale Rider. Describe and analyse the posters and say which of the four you like most.

Character Development

Choose one of the five main characters (Paikea, Koro, Nanny Flowers, Porourangi, Rawiri) and trace his/her development throughout the film.

Use the table below as a guideline for your answers.

Interaction with Actions & Motivation behaviour characters

Beginning

Middle

End

Character Constellation

Create a diagram in which you outline the relationship(s) between the characters and the conflicts between them (proximity, alignment, etc.).

You may want to use popplet.com to create your diagrams.

Cultural Influences

Where would you position each character in the diagram below? Why?

Western influences: a linear, more progressive approach to life and history

In-between cultures

Maori (indigenous) influences: a cyclical approach (a myth – the legend of Paikea)

Narrative Structure

Add appropriate scenes/sequences from the film to the narrative structure (Freytag’s pyramid) outlined below.

Climax

Falling A

ction

Rising A

Exposition Denouement

Narrative Structure

Add appropriate scenes/sequences from the film to the narrative structure (Freytag’s pyramid) outlined below.

• Koro finds the whales stranded on the beach • The locals are unable to move the whales • Pai climbs up on the whale and rides it out to sea

• Koro does not at- Climax tend Pai’s speech • Flowers gives the whale tooth to • Koro sends Pai Koro; Koro asks away from the “Which one?” marae Falling A

• Pai gets the out- ction board motor to start; Koro tells ction • Pai in hospital; Koro addresses her off Rising A Pai as “wise • Pai’s father leader” Porourangi turns up

Exposition Denouement

• Giving birth to the twins • The waka is finished and laun- • Koro and Porourangi arguing ched over the name Paikea, the • Porourangi has returned latter leaves home with Ana • Koro holding Paikea in his • Pai chanting with Koro beside arms her • View of the village • Final voice-over by Pai

Central Themes

Alternatively (or in addition), Whale Rider follows a cyclical narrative structure that may be likened to the hero’s journey. Again, add appropriate scenes/sequences from the film to the narrative structure outlined below.

Central Themes

• Destined to leadership

• Challenging Koro • Pai chanting in the waka with Koro beside her • Calling the whales; whales “answer”

• Speech

• Koro ack- nowledging • Poru- Pai as “wise rangi leader”

• Flowers

• Rawiri

• Rescuing the whales

Central Themes

In pairs or as a group, choose one of the themes below. Discuss where and how it is touched upon in the film. Then complete the creative writing task.

Create a leadership job specification that outlines the qualities you are looking for in an excellent leader.

Leadership

Write a letter to Koro to persuade him to change his views about women not meant to become leaders.

Gender roles

Write a short speech in which Rawiri addresses the Maori community summoned at the shore to rescue the whales.

Achievement

With a focus on your theme, write a new voice-over for the trailer of the film Whale Rider.

Working together

Symbolism

Analyse and discuss the meaning of two symbols in the film – the waka and the rope. How do these motifs function as metaphors in the movie?

WAKA Rope

Cinematic Techniques

Describe the use of cinematic techniques in the title shots of the film (00:01:11-00:03:12). Re-watch the scene and name the techniques used and the effect they have.

Wordbank

slow motion high-angle shot Dutch angle parallel editing

blurred lens voice-over extreme close-up low-angle shot

______

Cinematic Techniques

Describe the use of cinematic techniques in the title shots of the film (00:01:11-00:03:12). Re-watch the scene and name the techniques used and the effect they have.

______

Definition: Storyboard

A series of frames (drawings) which depict a sequence in a movie shot by shot. Storyboards illustrate a shot/frame and include both a sketch and a technical description of the shot/frame. Storyboards are meant to give directors an idea of how the film will look like when it is finished.

Storyboarding

Read the following excerpt from the book The Whale Rider. Then, use the book excerpt and “translate” it into single frames. Create your own storyboard using the template on the next page. Before you start, have a look at the sample frame below (for the first line of the excerpt) and the sample storyboard on the next page.

Compare your storyboard with the actual sequence in the film and the director’s audio commentary (1:24:46-1:27:35). Discuss similarities and differences.

She was the whale rider. Astride the whale she felt the sting of the surf and rain upon her face. On either side the younger whales were escorting their leader through the surf. They broke through into deeper water. Her heart was pounding. She saw that now she was surrounded by the whale herd. Every now and then, one of the whales would come to rub alongside the ancient leader. Slowly, the herd made its way to the open sea. (Ihimaera 2006 [1987]: 112)

Sample Storyboard

Storyboard template

Paikea‘s Speech

Which message regarding leadership does Paikea want to convey with her speech (01:08:49-01:12:29)? Elaborate. How does the shooting of the scene support its effect on the viewer?

E nga rangatira e nga iwi tena koutou, tena koutou, tena koutou katao. This speech is a token of my deep love and respect for Koro Apirana, my grandfather. My name is Paikea Apirana. And I come from a long line of chiefs, stret- ching all the way back to Hawaiki, where our ancient ones are. The ones that first heard the land crying and sent a man. His name was also Pai- kea. And I am his most recent descendant. But I was not the leader my grandfather was expecting. And by being born, I broke the line back to the ancient ones. It wasn’t anybody’s fault – just happened. But we can learn and if the knowledge is given to everyone, then we can have lots of leaders. And soon, everyone will be strong, not just the ones that have been chosen. Because sometimes, even if you are the leader and you need to be strong – you can get tired. Like our ancestor Paikea when he was lost at sea…and he couldn’t find the land, and he probably wanted to die. But he knew the ancient ones were there for him so he called out to them to lift him up and give him strength. This is his chant. I dedicate it to my grandfather.

Maori Culture

As a team, gather information on one of the following five Maori terms and the cultural background connected to them.

You may use the following websites:

http://www.maoridictionary.co.nz/ https://en.wikipedia.org/wiki/Main_Page

Haka Taiaha

Wharenui Waka

Paikea

Team Presentations

Design a multimedia presentation in order to share your information with the class. You may use PowerPoint, Prezi (prezi.com), or Popplet (popplet.com, see example below).

Also include an appropriate scene from the film.

THE STORY OF PAIKEA AND RUATAPU

The film is set in Whangara, a little village on the East Coast of New Zealand’s North Island where Maori inhabitants are familiar with the legend of and claim descent from Paikea. Read through the following creation myth.

There once lived in Hawaiki a chief the hair of people of no importance.’ called Uenuku, who had seventy-one Then Ruatapu said, ‘But indeed, I sons. Seventy of these sons were thought I was your son.’ chiefs, for their mothers were of no- His father said to him, ‘Yes, you are ble birth. But Uenuku had one wife my son. But your mother is only a who was a slave, and because of this, slave woman, so you are not a chief her son Ruatapu was of no importan- like your brothers. I cannot comb ce. your hair.’ One day Uenuku decided to build a Then Ruatapu was very ashamed, great canoe. A tall tree was felled, and ran away and planned to reven- and for a long time his men worked ge himself. He ate no food that night, at hollowing and smoothing and car- but went down to the canoe and cut a ving it. When it was finished it was hole in its bottom. Then he filled the painted red and hung with strings of hole in again with chips of wood. feathers. In the morning all the noble sons of Then Uenuku brought together all his Uenuku launched the canoe for the sons, so that their hair might be com- first time, and Ruatapu went with bed and oiled and tied into top-knots. them. The canoe was a beautiful si- This was so that they would look well ght, with its feathers and tall car- when they sailed for the first time vings, and it went very fast over the in the great canoe. Uenuku himself waves. They paddled a long way out combed and oiled and tied their hair, to sea, and Ruatapu kept his heel for this was tapu, a sacred thing. over the hole so it would not be seen. When all but Ruatapu were ready, When they were out of sight of land, Ruatapu said to his father, ‘Are you Ruatapu pushed away the chips from not going to comb my hair as well?’ the hole and water rushed into the But his father said, ‘Where could I find canoe. a comb for your hair? These combs ‘Where is the bailer?’ his brothers are sacred. They cannot be used on shouted.

‘Quickly, bail out the water, or we (Source: Te Ao Hou: are lost!’ The Maori Magazine 40, September But Ruatapu had hidden the bailer, 1962.) and the canoe filled with water and sank. Then Ruatapu had his reven- ge, for all his noble brothers were drowned, excepting one. Ruatapu swam after his last brother, whose name was Paikea, but he could not catch him. Then Ruatapu said to Pai- kea, ‘Which one of us will carry back this news to land?’ ‘It is I who will do so,’ Paikea said. ‘I will not drown. I am descended from Tangaroa, the god of the sea, and he will help me. Tangaroa heard Paikea, and sent a whale to take him to land. So Paikea escaped from Ruatapu on the back of the whale. Then Ruatapu recited a magic in- cantation, and sent five great waves rolling across the ocean after Paikea. But Paikea was too far away, and he came to land just before the waves reached him. The waves hit the shore and bounced off again, and went back across the ocean. They rushed over Ruatapu, who was still in the sea, and Ruatapu was drowned through his own magic. But Paikea was safe. It was the East Coast of the North Island to which the whale had brought him, and his childrens‘ children live there still. The whale became an island, and you can see it there today.

THE STORY OF PAIKEA AND RUATAPU

Relate the creation myth to the statements below. Explain and discuss where, in this sacred narrative, the metaphorical and symbolic power lies. Which ideals, ethics, principles, morals etc. does it convey? Which elements of the creation myth prove it to be characteri- stic of the Maori living in Whangara?

Do Western cultures have similar creation myths? If so, how do they describe and/or explain creation? Discuss.

Societies have defined themselves by, committed themselves to, and even been willing to kill and be killed in support of their myths. There are, of course, fundamen- talists in all religions who insist on the literal reality of their myths. But there are others who see in their sacred narratives not literal truth but metaphorical and symbolic power and significance without which their lives would become meaningless, rootless, or even in- tolerable. In either case, a culture’s myth are true to the culture because they are embedded in its psyche, as much a part of its reality as its people and its physical landscape. Leeming 2010: xviii

Our Polynesian ancestors lived life to the very edge by venturing far across the deep and distant waters. They succeeded in their ventures because they strove to become at one with the great animals of the deep ocean. And these ancestors are still there in front of us, calling us to follow their example, until we also achieve one- ness with other creatures. qtd. In Archer 2007: n.p., adapted

The Great HAKA Debate

Watch the following Adidas commercials:

https://www.youtube.com/watch?v=X01B4XAi15I https://www.youtube.com/watch?v=0C434QFTjok

Now, study the statements below thoroughly.

In a panel discussion, a team of 4 students argues in favour of using the haka in commericals, the other team of 4 students argues against. The rest of the class acts as audience and is required to ask questions.

[T]he Adidas quest to capture the au- More than any aspect of Māori culture, thenticity of the All Blacks through the this complex dance is an expression primal images and sounds embodied in of the passion, vigour and identity of the haka suggests some attempt to sei- the race. Haka […] was also a custom ze, or more accurately manufacture, of high social importance in the wel- one particular aspect of Mäori culture. coming and entertainment of visitors. [S]tereotypes of Māori are used as part Tribal reputation rose and fell on their of a transnational marketing campaign ability to perform the haka (Hamana that is, in effect, exploiting indigenous Mahuika). […] The centrality of the culture. The exploitation occurs not only haka within All Black rugby tradition is through the misappropriation of a ritual not a recent development. […] Its mys- but also through the attempts to nostal- tique has evolved along with the fierce gically forge a particular version of New determination, commitment and high Zealand’s past. As a consequence the level skill which has been the hallmark inequalities of history are erased, or at of New Zealand’s National game. The least ignored, while Māori, as a racial/ haka adds a unique component, derived ethnic group, is repositioned into the from the indigenous Māori of New Ze- stereotypical representations of the past. aland, and which aligns with the wider Polynesian cultures of the Pacific. The Jackson & Hokowhitu 2005: 133-34 All Blacks perform the haka with preci- Leeming 2010: xviii sion and intensity which underpin the All Black approach.

Team All Blacks 2015: n.p. qtd. In Archer 2007: n.p., adapted

Running Schedule

The following running schedule serves as a summary of the film’s storyline and should help to recall details of the film.

Opening Titles – Music – Whale to look out for Pai. sounds – Images of the Whales Pai aged 11 close to Koro holding the Whale tooth around his neck – shot Giving Birth to the Twins – Close Up pulls out to reveal they are on a bike on faces. Family gather at the hospi- together. tal – mourning the loss of the mother and baby Views of the township – establishing shots of the community Koro (grandfather) and Porourangi (father) argue in the hospital corri- Koro gently pushes Pai off the bike. dor. Porourangi says his daughter’s She goes inside to find Nanny Flo- name will be Paikea – Koro says wers and her friends playing cards. he can’t use that name. Porourangi Pai tells them off for smoking and walks away. talks about the upcoming school concert.

Pai walks along road practising for the concert. “If you ask what this house is called I will tell you…it is called Whitireia.”

Concert – farting whale – laughter from audience, Koro thumps stick to restore dignity.

Koro attempts to bless the baby boy Pai’s father Porourangi turns up. Po- and tells Flowers to take the girl out. rourangi greets his family. Koro and She stays close and Koro gets mad. Porourangi in the meeting house. She hands him the crying baby and Looking at the carvings Koro says it calms quickly. “See, she likes you”. “They’ve been waiting for you”. Flowers asks her younger son, Rawiri

Breakfast for Porourangi – Koro has Paikea runs out to the waka that Po- already gone to fix the septic tank. rourangi stopped carving when she Porourangi leaves to help. Rawiri was born. Porourangi comes to com- turns up to eat Porourangi’s break- fort her and talk to her. He explains fast. Nanny Flowers: “Your timing is that “Koro needs a prophet to lead spooky, boy” our people out of the darkness and make everything alright again”. Po- School – Koro on bike, clips Hemi rourangi suggests Pai returns to Ger- around the ears. “What’s that for?” many with him. “The Concert”. Koro rides home with Paikea on the bike. Koro and Pai on the bike going around the front lawn. Rest of the fa- Paikea watches Koro fix the outboard mily waiting. “Are you ready to go motor. She tells him about having to Pai?”, “One more go”. Goodbyes to make a speech about where she came Porourangi and Pai. Koro returns in- from. Koro talks about the Ancestors side without saying goodbye to Poro- and Hawaiki. Koro shows her the urangi. rope and asks “What do you see?”, “Lots of bits of rope all twisted to- From the car looking out to sea. Wha- gether”. The rope breaks but Pai ties le Music. Pai asks to stop the car; she it together and starts the outboard wants to go home. while Koro is away. He tells her off. Pai interrupts Koro’s meeting to tell Slide show of Porourangi’s art exhi- him “I’m back”. He ignores her. bition. With Pai, Flowers, Rawiri and his girlfriend. Koro bursts through After school, Hemi tells Pai Koro the screen, bringing Pai’s teacher. won’t be picking her up and about He makes Porourangi start the show the school to teach the boys. Pai de- from the beginning. Porourangi acci- cides to wait. The boys and their fa- dentally shows photos of his German milies wait at the Marae. Nanny ma- girlfriend Ana. When asked who it is kes Koro wait until Pai joins them. he explains that he’s been seeing her Karanga between Nanny Flowers and and that she is pregnant. Paikea leading the boys onto the Ma- rae.

Paikea sits in the front row, Koro tells her to sit at the back because she is a girl – She refuses and is sent away from the Marae.

Pai wins, Koro hears the taiahas and tells them they have broken the tapu. Pai is made to apologise to the other boys – repeatedly until she means it. The boys go out on the boat with Koro and Rawiri. Hemi is left behind. Final test and explanation of the significance of the whale tooth. Koro throws it into the sea for the boys to retrieve. They surface without it. Pai watches through the window to learn what the boys are taught. Du- On their return Koro takes to his bed. ring the taiaha training, Pai tries to Paikea is sent to stay with Rawiri. Pai copy the boys. Hemi hits Koro and is hears Koro calling to the ancestors; sent away. He gives Pai some pointers nothing is happening so she calls too. on how to hold and use the taiaha. Koro is angered by this.

Pai sitting in the waka looking out to sea. Whale music. Is joined by Nanny who tells her that Rawiri used to be good with a taiaha.

Pai takes Rawiri’s golf/taiaha tro- phy to Rawiri and asks him to teach her. Koro on the beach with the boat Pai goes out on the boat with Rawi- – Rawiri jogging past – exchange of ri and his mates. Asks where Koro glances. Pai on the bike overtaking threw the whale tooth and dives in the bus. to get it. She is underwater for a long time. Pai reappears with a crayfish Hemi’s father turns up to the boy’s and Koro’s whale tooth necklace. school. Koro greets him and tells Rawiri gives the crayfish and whale Hemi to perform first. Hemi’s father tooth to Nanny Flowers. But she leaves immediately after Hemi’s per- doesn’t think Koro is ready for it yet. formance with his mates. Hemi is up- Pai gives an invitation to the concert set and is round the back of the buil- to Koro, and tells him he’s her guest ding crying. of honour. The concert scene opens with teacups laid out and people Pai finds Hemi crying. He tells her bringing food. Pai requests a chair is to go away. They fight with taiahas. left for Koro.

Pai is announced winner of the spe- home with pregnant Ana. Close-up ech competition. Cuts between Koro of Pai chanting with Koro beside her, getting ready to go to the concert shot pulls out to reveal that they are and Pai’s speech. Pai dedicates her on the waka. speech to her Koro. She suggests that there should not be a single leader, but many leaders.

On leaving the house Koro hears the Voice Over of Pai saying “My name is whales. He finds them stranded on Paikea Apirana … I’m not a prophet, the beach. Locals come to help save but I know our people will keep go- the whales. Koro notices the large ing forward with all of our strength”. whale – Paikea’s whale. They try to move it, but are unsuccessful.

Pai climbs up on the whale and rides it out to sea – totally unafraid. The other whales follow. When the locals realise, Nanny Flowers calls for her mokopuna. The boys begin singing. Now Nanny gives the whale tooth to Koro. He looks puzzled and asks “Which one?” – she retorts “What do you mean which one?” Source: Murray, Fiona; Winfried Jackson & Brian Finch (2002). Whale Rider – A Teacher Resource for Class Cinema Viewing, adapted. At the hospital, family and friends are waiting. Pai in a hospital bed with Koro beside her. She is wearing the whale tooth necklace. He addresses her as “Wise Leader”

The waka is finished and is being launched. Porourangi has returned

PRINT Jackson, Steven J. & Brendan Hokowhitu (2005). Sport, Tribes and Technology: The New Zealand All Blacks Haka and the Politics of Identity. In: Sport and Corporate Nationalism. Eds. Michael L. Silk, David L. Andrews & Cheryl L. Cole. Oxford & New York: Berg. Leeming, David A. Creation Myths of the World: An Encyclopaedia. 2nd ed. Santa Barbara: ABC- CLIO, 2010.

ONLINE Archer, John (2007). Paikea. http://folksong.org.nz/paikea/index.html. “The Story of Paikea and Ruatapu.” Te Ao Hou: The Maori Magazine 40 (September 1962): n.p.; http://teaohou.natlib.govt.nz/journals/teaohou/issue/Mao40TeA/c5.html. Murray, Fiona; Winfried Jackson & Brian Finch (2002). Whale Rider – A Teacher Resource for Class Cinema Viewing; http://www.whaleriderthemovie.co.nz/education/wr_resource_kit.pdf. Team All Blacks (2015). The Haka. http://www.allblacks.com/Teams/Haka.

VIDEO What a Hongi Means: https://www.youtube.com/watch?v=uwN3TcsLXsU.

PICTURES All film stills reproduced with kind permission of ApolloMedia Distribution GmbH. All other pictures licensed via Wikimedia Commons (see details below). Film posters 1 to 4: http://www.impawards.com/2003/whale_rider.html. Freytag’s Pyramid: licensed under Public Domain via Commons; https://commons.wikimedia.org/ wiki/File:Freytags_pyramid.svg#/media/File:Freytags_pyramid.svg. The Hero’s Journey: licensed under Public Domain via Commons; https://commons.wikimedia.org/ wiki/File:Heroesjourney.svg#/media/File:Heroesjourney.svg. Storyboard Frame: own work. Sample Storyboard: licensed under CC BY-SA 3.0 via Commons; https://commons.wikimedia.org/ wiki/File:Storyboard_for_The_Radio_Adventures_of_Dr._Floyd.jpg#/media/File:Storyboard_for_The_ Radio_Adventures_of_Dr._Floyd.jpg. Storyboard Template: licensed under CC BY-SA 3.0 via Commons; https://commons.wikimedia.org/ wiki/File:Storyboard_template_example.svg#/media/File:Storyboard_template_example.svg. Carving of Tane nui a Rangi at Auckland Zoo by by Bernard Makoare, Manos Nathan & Lyonel Grant. Licensed under CC0 via Commons; https://commons.wikimedia.org/wiki/File:Carving_of_ Tane_nui_a_Rangi,_at_Auckland_Zoo.jpg#/media/File:Carving_of_Tane_nui_a_Rangi,_at_Auckland_ Zoo.jpg. NgatiPorou: licensed under CC BY-SA 3.0 via Commons; https://commons.wikimedia.org/wiki/ File:NgatiPorou.png#/media/File:NgatiPorou.png.

Additional ideas, tasks and activities: http://www.whaleriderthemovie.co.nz/education/wr_resource_kit.pdf http://www.filmeducation.org/pdf/film/WhaleRider.pdf http://www.pearsonschoolsandfecolleges.co.uk/Secondary/EnglishAndMedia/11-14/Edges/Re- sources/AdditionalsupportinconjunctionwithEdges2/WhaleRider.pdf http://mediaed.org.uk/film/teaching-whale-rider-to-the-10-14-age-group